Posted on June 13, 2024May 14, 2025 by Dale Phillips Guitar Evaluation at Carmel Guitar Evaluation at Carmel by David Russell Young Originally published in Guild of American Luthiers Quarterly 6, #2, 1978 The success of violin competitions, like the Southern California Association of Violin Makers’ annual event in L.A. at the Musicians’ Union Hall (well over 100 entries) has led me to promote something to the many serious musicians who attend the Carmel Festival, and as impartial as possible with many instruments being compared together, thus providing a good basis for determining the string and weak points of each individual instrument. Long-term benefits would include forging a stronger link between builders and players, and pointing the directions in which the technology needs development. (For example, how much of a premium do professionals put on sheer power for playing in large halls, and how much sacrifice of complexity or warmth would be accepted for the sake of a very loud instrument?) Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on June 13, 2024May 15, 2025 by Dale Phillips An Interview with Guitarist George Sakellariou An Interview with Guitarist George Sakellariou by David B. Fisher Originally published in Guild of American Luthiers Quarterly, Volume 9, #1, 1981 This issue’s interview, George Sakellariou, brings an uncommonly alive and musical warmth to his performance. He began to show interest in music at the age of four and by six was playing popular and folk music on the guitar. Later he took up classical guitar and at eighteen he graduated with Highest Honors from the Athens Conservatory. In 1964 he took part in the Segovia Master Classes at Berkeley and in the same year began teaching at the San Francisco Conservatory of Music. Since then he has been teaching and performing throughout the U.S.A., Canada and South America. He currently resides in San Rafael, California, with his wife and four children. When did you first go to a luthier and say “Make me a guitar”? I was very young, a teenager. I went to the Panaghis Brothers in Athens, and got a nice spruce top instrument. It is on loan to a dear friend. I love it when I get the opportunity to play it, usually three or four times a year. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on June 13, 2024May 15, 2025 by Dale Phillips Quick Cuts: The “Wintonbeast” 7-String Lap Steel Guitar Quick Cuts: The “Wintonbeast” 7-String Lap Steel Guitar by David Worthy Originally published in American Lutherie #87, 2006 I don't know how the more unusual projects get off the ground for most people, but I vaguely remember a campfire beside the Guinness tent at the Fairbridge Folk Festival (about an hour’s drive south of Perth in Western Australia), and the usual guitar-head beer-talk that naturally ensues. Somehow eighteen months later I sent Andrew Winton a drawing with (almost) every silly idea I could think of for him to consider — and to my surprise he said, “Yeah, looks great!” So I built it. Andrew lives in Perth. I live in Melbourne, 2500 miles away. The brief proposed seven strings, the word “orchestral” was in there, and “piano,” and, of course, “lap steel.” Andrew’s final preferred tuning was A a E a e a´ b´. String gauges run (low to high) .082", .045", .056", .045", .032", .017", and .017". The first six strings have a 27" scale; the 7th has a 36" scale. The top is western red cedar; the back and sides are Australian blackwood, as is the neck. It is bound in curly maple, and all the black is ebony. It was built in the Spanish style and required a few little inventions on the way. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on June 13, 2024May 30, 2025 by Dale Phillips Routing Neck Dovetails, Part 2 Routing Neck Dovetails, Part 2 by Roy Woltz Originally published in Guild of American Luthiers Data Sheet #162, 1980 Here is the simplified method of making dovetail neck joints with a router and dovetail bit. First, figure the depth of the guitar body at the heel. Mine are usually 3 3/8", so I make the dovetail 3" long. It will taper about 1/4" to the inch. The female jig is designed to be used with a holding mold attached to a table. The mold must be fastened to form a 90° angle to the table top and to bring the heel surface of the body into such a position that the jig can be extended over it. The body is put in the mod with the soundboard facing out, and is held in working position with the wedges and rubber bands. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on June 13, 2024May 15, 2025 by Dale Phillips ‘Doc’ Watson ‘Doc’ Watson by Dennis Siler Originally published in Guild of American Luthiers Quarterly Volume 10, #4, 1982 Arthel Watson (“Doc” to his friends) was born in Stoney Fork, North Carolina in 1923. At age 13 with two years of banjo experience already under his belt, Doc began to learn the guitar. He has since that time amassed an enormous and growing group of admirers around the world. Doc’s musical background is wide and varied. He began playing professionally in 1953 and played in both country-western and rock groups. In the early ’60s he began to travel around the country, performing folk and traditional music at festivals, folk clubs and colleges. In his present concert tours, Doc plays a wide variety of music; folk, traditional bluegrass, rock-a-billy, blues and almost anything else. He wows the crowd everywhere he goes — young and old alike. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
